his collection showcases work Amy Ione created between 1980-1989.
Since the purpose of this website it to archive her work from the 1970s to the present, both successful and less successful work is displayed. The website chronology is sorted by decades and pieces are not further sorted by date within each decade.
For more information on any of the shown works, the caption below the painting is linked to details for that specific piece or send an email.
Homage to Cézanne is actually based on how his approach to perceptual painting influenced my work, not Cézanne’s style. The photographs below are reference photos used. The face top left in the large drawing is Cèzanne’s. The figures on the left are based on various photographs of him. The origin of the faces on the right is unclear at this point. Continue reading “Homage to Cézanne (1987)”
Pisces (1985) was a pivotal piece. It incorporates the Pisces symbol into the composition, and is not a narrative work in any way. Its vibrancy comes about due to the use of spirals and patterning—and it built on my discovering that creating lines with different sized pen widths added a perceptual musicality. This discovery is discussed on The First (Pisces) page.
This 1983 gouache and ink work, Ships, reads as a stylized boat within a rigorously geometric, almost architectural framework. Blending a medley of circles, arcs, and rectilinear grids, this small painting evokes a dialogue between a concrete subject (a ship and its masts) and an abstract system of colored shapes.
Painted in 1986, this work was ruined by a leaky roof about ten years after it was created. When it was on display it led to unusual encounters due to its perceptual resonance. They are too numerous and varied to record here.
The process used combined liquid acrylic paint overlays and ink.
Continue reading ““…To Be Silent–The Will to Universal Talent” (The Artist as Creator, #2) (1986)”
Alchemical Rending is an evocative composition that explores the intersection of geometry, symbolism, and perceptual inquiry through a tightly composed and meticulously executed ink drawing. The work features a central circular form layered with radial lines, checkerboard textures, and a pyramid-like structure, surrounded by concentric ellipses and rectilinear segments. This central motif is reminiscent of an alchemical diagram, thus the name. Here the central form serves to anchor the composition in a space where perception, pattern, and meaning interlace. Continue reading “Alchemical Rendering #1 (1981)”
This drawing/painting was also known at Plato’s Cave when created. Like many artists, at that time I thought Plato was talking about artistic creativity when he introduced the Allegory of the Cave in the Republic. I removed the Plato reference when I realized that he had actually banned the artists from his Republic, disdaining their ability to convince people that mere “illusions,” were actually the Truth.
Continue reading “The Artist as Creator #1 (Plato’s Cave)”
Ink on painted paper. Some light blue prismacolor in various circles. Paper retains some pink residue surrounding the image from tape used as a border while painting.
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Amy Ione
Title: Reflections Grid
Date: 1988
Medium: Liquid acrylic and ink on archival watercolor paper
Dimensions: 20×28 inches
Unsigned
Catalog Number: 35669
Continue reading “Reflections Grid”
This compact painting was created with ink and liquid acrylic. It presents a sense of a world in which all things seem as if they are not appearing properly in terms of perceptual expectations.
In the context of relativity theory, one could postulate that it refers to a situation where expected outcomes or measurements are not aligning with theoretical predictions.
Onward marked a return to my painting practice in 1980 after a year devoted to writing an unpublished novel.
The central figure’s advance is accompanied by repeated circular vignettes that imply different perspectives on — and approaches to — my creativity. In some sense, these various-sized motifs evoke my past, and my resumption forward as a growing painter. Therefore, the central figure represents the present moment.